Working in the last decade, Sela’s aesthetic proposal portrays a moment where the presence of the camera operates on different capacities – from the contrived to the authentic, from the manipulative to the surveying, from a device of self-performance to a documentation apparatus. Using the camera as a participant and as the precursor and prerequisite for the filmed event, Sela often requests the participants to hold the camera and document the event by themselves. This gesture is present in this compilation in many ways. Eduardo Thomas bases his essay here on his conversations with Sela in Mexico DF, attempting to perform some of Sela’s interviewing techniques; Ana Teixeira Pinto addresses the contexts of Sela’s work in relation to the daily presence of constraint and oppression in Israel-Palestine; Julia Moritz examines the place of radicality in relation to Sela’s work; Yair Garbuz observes the specific portraiture qualities in Sela’s films; Vít Havránek and Joshua Simon converse with Sela’s films, raising questions due to the artist’s refusal to submit herself to an interview.